Phantom Thread (2017) and Satan's Brew (1976)

Phantom Thread is a very beautifully made film with a wonderful music score and great performances. Daniel Day Lewis stars as a dress designer Reynolds Woodcock, and describes himself as a "confirmed bachelor". Leslie Manville (so good in Another Year) plays his sister and business partner. A relationship starts between Reynolds and a new young woman (Vicky Krieps), which stirs some jealously in the sister character. Strange occurrences develop throughout the film and there's some mystery as to what's happening and why. It's not an easy film to encapsulate, but the two main characters are very interesting; Reynolds is very obsessive, while the young woman wants to break him of his mold; in one scene she wants to go out dancing on New Year's Eve, but he wants to stay in and work. What would happen with the sister character kept me guessing as well. The relationship in the movie is an unusual one to say the least, and was sort of reminded of a film that I've blogged about numerous times in the past, Who's Afraid of Virginia Woolf?

I also attended a local screening of a German-language film Satan's Brew (1976) directed by Rainer Werner Fassbinder, a very dark and bizarre comedy-mystery, which reminded me somewhat of Phantom Thread. The main character in the picture (Kurt Raab, star of Why Does Herr H Run Amok) is also an obsessive artist - a writer - who channels the German poet Stefan George to great lengths, to the point of even dressing like him and acting like him. I saw similarities between him and PT's Reynolds Woodcock, both controlling men with an unusual marriage relationship. Like that film, this film is also a mystery, and the truth is hidden from the audience until the very end. It's also has some elements that may be considered offensive to some, as the main character is so despicable; he's a womanizing, scheming, manipulative, greedy, selfish, rude, lewd, tactless pig, so it's not a film for everyone.

Another review of the film Satan's Brew from the blog Surrender to the Void

Becket (1963)

Peter O'Toole is great as King Henry II, who ruled England from 1154 to 1189.

When the Archbishop of Canterbury dies, he appoints his old drinking buddy, Thomas Becket (Richard Burton) to the post.

This is an intense, emotional drama that probes the changing relationship between two young men - between two close friends bound together by similar pride of flesh and spirit who become deadly enemies as they pursue their separate destinies: that of king, and that of saint.

Nominated for 12 Academy Awards.

In High School, I had to write a report about this film and play for extra credit.

- A post about Becket here at the Critcaretro blog 

Little Dorritt (1988)

With a 6-hour running time, 1988's Little Dorritt always seemed to be a challenging watch but it was on my list because of its acclaim and cast (including Alec Guinness). Last fall the film aired on TCM in 2 parts, and I really enjoyed it!

In his 4-star review, Roger Ebert wrote that he felt the movie might be better experienced seeing it in one day, with a break for lunch in between  (read his review here).

Part 1 is very enjoyable, as we are introduced to a kind man named Mr. Stammers (Derek Jacobi) who returns to his hometown after 20 years of being overseas. He gets reacquainted with a certain family member who has a connection to a mysterious house servant, Amy Dorritt. Stammers spends the entire half of the movie learning about the mystery behind Dorritt and building a name for himself in the community as a businessman and investor.

Part 2 was even better than the first half. The entire second half was told from Amy Dorrit's point of view, and we learn much more about her relationship with her father, splendidly played by Alec Guiness.

I haven't ever read the book, but I understand the story was adapted into a 6 part mini-series starring Tom Courtenay as father Dorritt, which would make for a great watch one day.

It would be nice if this 1988 movie were ever to be released on DVD.

I was curious to see how the film performed at the box office back in 1988, so I checked IMDB and to my surprise it grossed over $1 million. When the movie played at art house theaters in 1988, many theaters charged a separate admission for each 3-hour installment.

Steel Magnolias (1989) and Educating Rita (1983)

Last year I went to see the stage play of Steel Magnolias at a local repertory theater, and I loved comparing it with it's 1989 film counterpart. In the case of Magnolias, the film -- in my opinion -- is far better than the stage version. For one thing, there's no way you can top a cast like Sally Field, Shirley MacClaine and Julia Roberts. Also, I love how the movie breaks out of the beauty shop and explores the entire town and introduces the viewer to all the other people in the women's lives, including the suitor who charms Shirley.  And I loved Shirley's dog in the film; a nice touch. And this has got to be one of of Dolly Parton's best movie roles and the part suits her well.  A few years ago, another TV-film version came out starring Queen Latifah and Alfre Woodard and is on my to-see list.

Another stage play I saw recently was Educating Rita; I had seen the 1983 film version, one of the first movies I ever watched on a VHS tape. If you don't remember that movie, it's about a middle age professor (Michael Caine) who tutors a young, unschooled married hair stylist (Julie Walters) who dreams of becoming more cultured; in the process they change each other's lives (a premise reminiscent of Pygmalion or My Fair Lady). It's an inspiring tale, filled with witty dialogue and many references to great literature. The movie version is delightful - Caine and Walters are top-notch and deserved their Oscar nominations. And I like how the movie breaks out of the professor's office setting, taking you inside Rita's house and inside the saloons where the professor frequents. However, the movie feels dated, especially the synthetic music score. On stage, it's a different experience - only the two main characters; in the production I saw, the actors were outstanding, especially the actor who played Rita, a challenging part that she knocked out of the park. I hope she gets some local award recognition. Alas, this may be an example of where there play is actually better than the film.

Locke (2014)

This year, Tom Hardy made a big impression on the big screen as the new Mad Max in Mad Max Fury Road (I have not yet seen it). And last year he gave another impressive performance in a smaller film, one that hasn't been seen by too many people, I don't think. I was interested in checking it out after hearing good reviews of the film and his performance; the entire film takes place with Hardy's character - Locke (his last name...can't remember his first name) - talking on the phone! It is never dull or boring, even with Hardy being the only character we see for 90 minutes. The cinematography and editing are impressive...I was convinced I was in the car with him the whole time. We do hear the voices of the people he talks to on the speakers - every character is somehow connected. For example, there are Locke's sons who want their dad home to watch a game on TV.  Then his wife calls him several times, upset. Locke has to call his boss several times to patch up something at work. His co-worker is furious with him for reasons I won't mention here. Then there's the woman Locke had an affair with - she's in the hospital and scared; Hardy tries to calm her down. It's a really compelling "race against the clock" type of film, and I would recommend it. Can't think of any other film I could compare it with.

Read a blog post by Bobby Rivers about this movie here.

Read a blog post review by Surrender to the Void:

Surrender to the Void: Locke (thevoid99.blogspot.com)

The White Cliffs of Dover (1944)

Irene Dunne stars in this touching Metro-Goldwyn-Mayer wartime romance that was a very big hit at the box-office.

In the beginning of the film - set in early 1914 (pre-WWI)- she's on a ship with her dad on a 2-week business trip.  She's quite knowledgeable about England, and is anxious to visit for the first time. On the ship, she flirts with Van Johnson, a dapper entrepreneur who wants to keep in touch with her.   I thought Van would have a much larger role in the film - and in her life - but alas, it's not meant to me; his character only symbolizes what Irene will eventually be leaving behind. 

Frank Morgan - as her dad, an American newspaper publisher who says things like "Sufferin' cats" and "You're darn tootin'!". In one bit, he's complaining about the food. In another, he's arguing with someone about a chess set. To put it mildly, he just wants to go home. His presence brings to the film a light comedic tone; once he goes back to America - and Irene stays in England - the film's tone becomes more serious.  

Romance blossoms in Irene's life when she meets a handsome aristocrat (Alan Marshal) who sweeps her off her feet. She marries him, and they have a son.

Then, WWI erupts. Her husband is called off to war. Oh, Irene.

My favorite scene is when she holds her baby up to see the parade of American soldiers march through the streets and she says to her newborn, "you're half-Yankee and I'm never going to let you forget it!"

We then follow the family up to the present day - during the Second World War.

You'll have to see the movie to find out what happens to the family. 

Several MGM stars make appearances including a young Elizabeth Taylor, a young Roddy McDowell, a young June Lockhart, and a young Peter Lawford (!) The film also has a distinguished cast of old-guard vets such as C Aubrey Smith, Dame May Whitty, and Gladys Cooper. What a cast!

Directed by Clarence Brown, master of tearjerkers.
Recommended. Available on DVD.

Note: The Vera Lynn song "Bluebirds Over the White Cliffs of Dover" is not heard in this film. For those itching to hear it, I've included the song in this post here. Enjoy!